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A step-by-step guide for turning you and your friends into the living dead. All you need is some cheap black and white makeup from your local drugstore. (Brains are optional.)

Make scary-real innards through the magic of kitchen chemistry. This tutorial shows you how to make ballistics gel (for organs).

Make scary-real innards through the magic of kitchen chemistry. This tutorial shows you how to make ballistics gel (for organs).

This special effect is easy to create with makeup and scar wax. And the gashes look so real, your friends will want to drag you to the emergency room.

Here are ways to create the special effect of bursting blood. You'll be amazed at the mess you can make with a simple sandwich bag!

Create the look of a mixed martial arts fighter without stepping into the octagon. No punches, pain, or swelling required.

When you don’t have time to mix it yourself! Many styles and colors of fake blood are available online and in some theatrical supply stores.

More chemistry fun with the non-Newtonian fluid called Oobleck (gooey guts). This gross, gooey substance makes pulling guts easy and fun.

Dish soap and food-coloring—that’s all it takes. And this stage blood is a snap to clean up—the soap is built right in.

This easy recipe for making realistic blood is a delicious blend of sweet syrups and food coloring. Maybe that's why Dracula drinks the stuff.

Dive deep into the history of Blue Note records.

Explore the impact of the work Blue Note designer Reid Miles had on album cover design, in Jazz and beyond.

Discover the work of Frank Wolff, who set the tone for Jazz photography with this work for Blue Note records.

Learn the basics about Blue Note and its remarkable style.

As rappers became featured artists, it was the DJ’s job to keep the beat (or the break) steady, so that the rappers could rap to the beat, do their routines, or recite full verses without interruption.

Kandi introduces “the scratch,” a move where you pull the record back and forth while the needle is on the record. But scratching is as much about rhythm and style as it is about technique.

So, we’ve talked about what happens on stage and how it all sounds, but what about how it looks? That’s important, too, and the scenic designer, costume designer, lighting designer, and choreographer all help create the look and feel of a show.

High quality equipment may help you become a better DJ, but nothing beats having the right “touch.”

In a musical, songs and music play an important role in telling the story—helping audiences understand what is happening, what the characters are feeling, and even how characters are changing.

The story of Elephant and Piggie’s We Are in a Play! began as a book (well, six books to be exact). But to tell the stories on stage, the playwright Mo Willems had to adapt, or change, them so they would work together as one story.

¿Se acuerdan de la postura de los brazos cerrados y la de brazos abiertos del nivel uno de Baile Latino? Las van a usar otra vez en esta lección de cha cha cha.

Do you remember the closed and open arm holds from Latin Dance, Level 1? You’ll think about them again in this Cha Cha Cha lesson.

En esta lección se aprenderá hacer el paso básico o balanceado – un paso para adelante o para atras que lleva su peso ligeramente, balanceandose hacia donde empezó. Es rápido, asi que use pasos ligeros y transfiere unicamente el peso necesario para que se levante el otro pie. Entre los pasos de balanceado, muevese rapidamente los pies para completar el triple paso. Se puede contar 1, 2 (para el paso básico), despues cha- cha- cha (para el triple paso).

In this lesson you will do a rock step—a forward or backward step that takes your weight just slightly, rocking you back where you started. It is fast, so stay light on your feet and transfer only enough weight to enable lifting the opposite foot. In between rock steps, get those feet moving quickly to complete the triple step. You can count 1, 2 (for the rock step) then cha- cha- cha (for the triple step).

Need a reminder of Bachata basics? Just remember 1, 2, 3, tap and 1, 2, 3, tap. The tap on beat 4 and 8 gives a rhythmic accent to the dance steps.

This lesson incorporates the basic Salsa steps we learned before—forward/back, side step, and cumbia (or ½ swing)—but adds a new sequence of three steps that combine to form the cross-body lead with a follower’s turn, ending with a leader’s turn.

Ricardo and Elba introduce three new moves that will make you feel like a dancing pro—just as long as you keep bending your knees to the beat.

Jason and the band perform the standard, “Summertime.”

Jason explains what jazz “standards” are, and how musicians all over the globe know how to play these pieces.

Jason explains how jazz musicians and baseball players are more alike than you would think, and helps you understand how musicians communicate during a performance.

What are your musical “tastes?” Jason talks about what the responsibility of the audience is, and gives some tips about how to enjoy a jazz performance.

Jason and the band improvise and vamp using the classic “Ain’t Misbehavin’” by Fats Waller. Make sure to pay attention to Jason’s new headwear.

How is Jazz like a football play? Jason explains “hits” in jazz—and how players know how to navigate the music. The band then plays “Evidence” by Thelonious Monk to illustrate the point.

Using the metaphor of “Harold and the Purple Crayon,” Jason explains what jazz means and how it works.

While listening to a recording of a financial report, Jason creates a new composition using the sound of the reporter’s voice as his inspiration.

Jason talks about the musicality of language, and then plays his original composition, "Ringing My Phone."

The Kennedy Center’s Artistic Advisor for Jazz Jason Moran introduces himself and shares his thoughts on innovation and creativity—through the lens of skateboarding and Jazz.

Now it’s time to really kick it into high gear on the dance floor. The Bachata takes some of its cues from other Latin dances, but it’s a unique dance unto itself. Remember, much of Latin dance is connected to “feeling the rhythm.” So listen to the music, and let it move you across the floor.

Ricardo and Elba, along with the dancers from the After School Dance Fund , walk you through the basic steps of the Salsa, one of the most common Latin Dances. The name for the dance was inspired by the food, the dance representing many different styles all being mixed together and re-interpreted on the dance floor. After learning the steps by yourself, grab your partner and dance together.

Ricardo and Elba are going to show you how, with just a few simple moves, you can impress on the floor in no time. The Merengue is the official dance of the Dominican Republic. Remember that when you’re dancing the Merengue, your feet don’t leave the floor.

Questlove of The Roots and Motown historian Harry Weinger explore “You Can’t Hurry Love,” recorded by The Supremes. They break down the typical “Motown sound,” demonstrating just how different the recording process was for Marvin Gaye’s “What’s Going On.” More at whatsgoingonnow.org.

Questlove of The Roots and Motown historian Harry Weinger continue to unpack Marvin Gaye’s “What’s Going On.” They explore differences between the single and the album versions of the title track, and discover a surprise appearance by the Detroit Lions! More at whatsgoingonnow.org.

Motown historian Harry Weinger and Questlove of The Roots dig deeper into Marvin Gaye’s “What’s Going On.” They talk about synesthesia, raw harmonies, and avoiding the "perfect" Motown fade. More at whatsgoingonnow.org.

Sit at the mixing console with Motown historian Harry Weinger and Questlove of The Roots as they unpack Marvin Gaye’s chart-topping hit, “What’s Going On.” They explore how the instruments were combined to form the song’s unique sound, and even discover a few surprises in the mix. More at whatsgoingonnow.org.

Garry looks ahead to the future of how we will interact with technology using natural user interfaces, like Microsoft's Kinect, Apple's Siri, and IBM's Watson. He talks about how movement-based interfaces like Kinect are rapidly finding their way into arts education, and how conversation-based personal assistants like Watson are already having an impact in the workplace (and the future they offer for educators).

Garry discusses the challenge of effecting change, reviews the current state of self-directed learning, and suggests a future that includes learning management systems. He talks about the importance of the opportunities created by placing a higher value on sentiment analysis, predictive vs. prescriptive data, creating curriculum in a digital environment, and the impact of software on the role of teachers.

Garry discusses arts-influenced changes in the workplace, the opportunities created by social networks and open source engineering, the importance of critical thinking, and the value of both left and right-brain experiences. He talks about the need for students to develop an online portfolio, along with the challenge of managing a balance between transparency and privacy. He then shares a personal experience about a young artist using digital tools and self-directed learning to create music.

Garry outlines the evolving role of the teacher in a dynamic arts education landscape, including the challenge of the widening knowledge gap around student-accessible digital tools. He stresses the importance of educator involvement in online peer-to-peer social networks, following leading-edge thinkers, and professional development through exploring beyond one's own discipline.

Garry speaks about his personal experiences with arts education and his work in the field of millennial studies. Building upon the accepted value of arts experiences in schools, he talks about the importance of the “third-place” as an opportunity for arts experiences and life-long learning.

In the final part of this interview, Diane talks about the role of teachers and families in education, as well as her personal experiences with the arts.

Farai takes the bass, tone and slap from the first lesson and teaches the West African fanga rhythm. For more on world music, visit artsedge.kennedy-center.org.